十九世紀的鋼琴個性小品中，充滿著難以明確解釋的「個性」，這些「個性」就是所謂「音樂的詩意」。本論文從音樂與文字的關係來探究個性小品中的「詩意」，共分為五個章節：第一章緒論從十九世紀鋼琴個性小品興起的背景談起，包含樂器的完備以及沙龍音樂的普及等等。第二章解釋個性小品一詞的使用，歸納整理出個性小品的定義、內容、發展歷史以及外型。第三章則以舒曼(Robert Schumann, 1810-1856)的個性小品為例，分析舒曼作品標題以及文字的「個性」化，呈現出舒曼個性小品中的「人物個性」以及「音樂個性」。第四章以孟德爾頌(Felix Bartholdy Mendelssohn, 1809-1847) 的個性小品作品7以及《無言歌》曲集為例，說明《無言歌》如何將文字內化，闡釋孟德爾頌獨特的「創作個性」。另外，將孟德爾頌的《無言歌》以及作品7《7首個性小品》與舒曼的個性小品標題進行比較，檢視兩位作曲家的個性小品中，時而相同、時而迥異的文字與音樂之互動關係。第五章則為結論章，歸結以上四個章節，點出十九世紀鋼琴個性小品中無窮盡的「詩意」存在。

The piano characterpieces of nineteenth-century are full of “characters”. It’s very difficult to explain or define what the “characters”are. These “characters” are called “poeic ideas” in music.
This dissertation studies the concept about “poeic ideas” in characterpieces by examining the relationship between music and words. There are five chapters devoted in this thesis. The Chapter One (Introduction) starts from the composing background of characterpieces, including the improvement of the piano and the popularity of salon music. In such situations, composers wrote more and more piano characterpieces. The focal point in Chapter Two is the using and the meaning of the word “character- pieces”, exploring the definition, content, development and appearance.
Chapter Three analyzes Schumann’ characterpieces. To find out the “personality character” and “musical character” by examing the titles and words in the music. Chapter Four focuses on the characterpieces of Mendelssohn, specially the Lieder ohne Worte and characterpieces op.7. Explore how Mendelssohn melt his words into music and establish the unique “character”of composition. After that, We compare the titles and words in Mendelssohn’s characterpieces to Schumann’s, analyzing the similarity and difference in their compositions. Chapter Five, the conclusion, sums up the First four chapters, bringing out the view that there are still plenty “poetic ideas” in the characterpieces.

一、樂譜

Beethoven, Ludwig van. 11 Bagatelles, Op.119. Leipzig: Breitkopf & Härtel, 1862.

Mendelssohn-Bartholdy, Felix. Lieder ohne Worte. Leipzig: Breitkopf &
Härtel, 1874.

Mendelssohn-Bartholdy, Felix. 7 Charakterstücke, Op.7. Edited by Julius Rietz. Serie 11 of Felix Mendelssohn-Bartholdys Werke. Leipzig: Breitkopf & Härtel, 1877.

Schumann, Robert. Album für die Jugend, Op.68. Edited by Clara Schumann. Serie VII: Für Pianoforte zu zwei Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1887.

Schumann, Robert. Bilder aus Osten, Op.66. Edited by Clara Schumann. Serie VI: Für 1 oder 2 Pianoforte, zu 4 Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1879.

Schumann, Robert. Carnaval, Op.9. Edited by Clara Schumann. Serie VII: Für Pianoforte zu zwei Händen.of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1879.

Schumann, Robert. Davidsbündlertänze, Op.6. Edited by Clara Schumann. Serie VII: Für Pianoforte zu zwei Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1879.

Schumann, Robert. Fantasiestücke, Op.12. Edited by Clara Schumann. Serie VII: Für Pianoforte zu zwei Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1879.

Schumann, Robert. Faschingsschwank aus Wien, Op.26. Edited by Clara Schumann. Serie VII: Für Pianoforte zu zwei Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1879.

Schumann, Robert. Gesänge der Frühe, Op.133. Serie VII: Für Pianoforte zu zwei Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1879.

Schumann, Robert. Humoreske, Op.20. Serie VII: Für Pianoforte zu zwei Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1879.

Schumann, Robert. Kinderszenen, Op.15. Serie VII: Für Pianoforte zu zwei Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1879.

Schumann, Robert. Kreisleriana, Op.16. Serie VII: Für Pianoforte zu zwei Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1885.

Schumann, Robert. Papillons, Op.2. Serie VII: Für Pianoforte zu zwei Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1879.

Schumann, Robert. Waldszenen, Op.82. Serie VII: Für Pianoforte zu zwei Händen. of Robert Schumanns Werke. Leipzig: Breitkopf & Härtel, 1879.

二、中文書目

林公欽。《舒曼鋼琴連篇曲集之研究》。臺北：師大書苑，1992。

陳玉芸。《舒曼鋼琴代表作之研究》。臺北 : 全音出版，1991。

蔣一民。《音樂美學》。臺北：五南出版，1993。

Chissell, Joan. 《舒曼鋼琴音樂》(Schumann Piano Music)。苦僧 譯。臺北：世界文物出版社，1997。

Reich, Nancy B. 《克拉拉‧舒曼》(Clara Schumann: The Artist and the Woman)。陳秋萍、游淑峰 譯。臺北：高談文化，2003。

Riemann, Hugo. 《音樂美學的基礎》(Catechism of Musical Aesthetics)。徐頌仁 編譯。臺北：愛樂文庫，1970。

Tunley, David.《庫普蘭》(Couperin)。溫宏 譯。臺北：世界文物，1996)。

三、外文書目

Abraham, Gerald. Romanticism (1830-1890). New York: Oxford University Press, 1990.

Apel, Willi. Masters of The Keyboard. London: Harvard University Press, 1947.

Brown, Thomas Alan. The Aesthetic of Robert Schumann. New York: Philosophical Library, 1968.

Dahlhaus, Carl. Nineteenth-Century Music. Trans. J. Bradford Robinson. Los Angeles: University of California Press, 1989.

Dahlhaus, Carl. Realism in Nineteenth-Century Music. Trans. Mary Whittall. New York: Cambridge University Press, 1985.

Dahlhaus, Carl. The Idea of Absolute Music. Trans. Roger Lustig. Chicago: University of Chicago Press.

Daverio, John. Nineteenth-Century Music and the German Romantic Ideology. New York: Schirmer, 1993.

Daverio, John. Robert Schumann: Herald of a New Poetic Age. New York: Oxford University Press, 1997.

Edler, Arnfried. Robert Schumann und seine Zeit. Laaber: Laaber-Verlag, 1982.

Einstein, Alfred. Music in the Romantic Era. New York: W. W. Norton, 1947.

Gillespie, John. Five Centuries of Keyboard Music. New York: Dover Publications Inc., 1972.

Gordon, Stewart. A History of Keyboard Literature. New York: Schirmer Books, 1996.

Herber, May, trans. Early Letters of Robert Schumann. London: George Bell and Sons, 1888.

Huneker, James. Chopin: The Man and His Music. New York: Dover Publications, 1966.

Jacob, Heinrich Eduard, ed. Felix Mendelssohn and His Times. London: Barrie and Rockliff, 1963.

Kahl, Willy. Das Charakterstück. Köln: Arno Volk Verlag, 1961.

Kirby, F. E. Music for Piano. Cambride: Amadeus Press, 1995.

Lippman, Edward A. A History of Western Musical Aesthetics. Lincoln: University of Nebraska Press, 1992.

Lippman, Edward A. The Philosophy & Aesthetics of Music. Lincoln : University of Nebraska Press, 1999.

Longyear, Rey M. Nineteenth-Century Romanticism in Music. Englewood Cliffs, N. J. : Prentice Hall, 1988.

Ostwald, Peter. Schumann: The Inner Voices of a Musical Genius. Boston: Northeastern University Press, 1985.

Parakilas, James. Ballads without Words : Chopin and The Tradition of The Instrumental Ballade. Portland, OR. : Amadeus Press, 1992.

Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth-Century Europe. New York: W.W. Norton, 1984.

Pleasants, Henry, trans. Schumann on Music: A Selection from The Writings. New York: Dover Publications, 1988.

Ratner, Leonard G. . Romantic Music Sound and Syntax. New York: Schirmer Books, 1992.

Reiman, Erika. Schumann Piano Cycles and The Novels of Jean Paul. New York: University of Rochester Press, 2004.

Robert, Walter. From Bach to Brahms: A Musician’s Journey through Keyboard Music. Indiana: Tichenor Publishing, 1994.

Rosen, Charles. The Romantic Generation. Cambridge: Harvard University Press, 1995.

Rowland, David. The Cambrige Companion to The Piano. New York: Cambridge University Press, 1998.

Samson, Jim, ed. Chopin Studies. New York: Cambridge University Press, 1988.

Samson, Jim, ed. Chopin: The Four Ballades. New York: Cambridge University Press, 1992.

Sainsburry, Geoffrey. Schumann & The Romantic Age. London: Collins, 1956.

Todd, R. Larry, ed. Mendelssohn Studies. Cambridge: Cambridge University Press, 1992.

Todd, R. Larry. Nineteenth-Century Piano Music. New York: Schirmer Books, 1990.

Tomlinson, Craig, trans. Felix Mendelssohn, A Life in Letters. London: Cassell, 1986.

Weissweiler,Eva. The Complete Correspondence of Clara and Robert Schumann, Vol. I. Trans. Hildegard Fritsch and Ronald L. Crawford. New York: Peter Lang, 1994.

四、期刊

Berger, Karol. “The Form of Chopin's "Ballade," Op. 23.” 19th-Century Music 20, no.1 (Summer 1996): 46-71.

Cooper, John Michael . “Words without Songs? of Texts, Titles, and Mendelssohn's Lieder ohne Worte.” Musik als Text 2(1998): 341-345.

Glusman, Elfriede. “Taubert and Mendelssohn: Opposing Attitudes toward Poetry and Music.” The Music Quarterly 57, No. 4(Oct., 1971): 628-635.

Jensen, Eric Frederick. “Explicating Jean Paul: Robert Schumann’s Program for Papillons, op.2.” in 19th-Century Music 22, No.2(Fall, 1998): 127-43.

Kahl, Willi. “Das lyrische Klavierstück Schuberts und seiner Vorgänger seit 1810.” Archiv für Musikwissenschaft. 3. Jahrg., H. 1. (Jan., 1921): 54-82.

Kahl, Willi. “Das lyrische Klavierstück Schuberts und seiner Vorgänger seit 1810.” Archiv für Musikwissenschaft. 3. Jahrg., H. 2. (Apr., 1921): 99-122.

Kaminsky, Peter. “Principles of Formal Structure in Schumann’s Early Piano Cycle” Music Theory Spectrum 11, No.2(Autumn, 1989): 207-225.

Klein, Michael. “Chopin's Fourth Ballade as Musical Narrative.” Music Theory Spectrum 26, no. 1 (Spring, 2004): 23-55.

Kolisch, Rudolf. “Tempo and Character in Beethoven Music.” Music Quarterly 77 (1993): 90-131, 268-342.

Lippman, Edward A. “Theory and Practice in Schumann’s Aesthetics.”Journal of the American Musicological Society 17, no. 3 (Autumn, 1964): 310-345.

Marston, Nicholas. “Im Legendenton: Schumann’s Unsung Voice.”19th-Century Music 16, no. 3 (Spring, 1993): 227-241.

Parks, Richard S. “Voice Leading and Chromatic Harmony in the Music of Chopin.”Journal of Music Theory 20, no. 2 (Autumn, 1976): 189-214.

Sams, Eric. “The Tonal Analogue in Schuamnn’s Music.” Proceedings of the Royal Musical Association 96(1969): 103-117.

Sisman, Elaine R. “After The Heroic Style: Fantasia and The 'Characteristic' Sonatas of 1809.” Beethoven Forum 6(1998): 67-96.

Tischler, Hans and Louise. “Mendelssohn’s Songs without Words.” The Musical Quarterly 33, no.1 (Jan., 1947): 1-16.

五、學位論文

王珮琪。〈Clara Schumann為鋼琴創作的個性小品研究〉。國立臺北藝術大學音樂系在職專班音樂學組碩士論文，2007。

郭鎧榕。〈舒曼《蝴蝶》中尚保羅意念之探討〉。國立中山大學音樂系碩士班音樂學組碩士論文，2004。

湯椀清。〈舒曼《維也納狂歡節》作品26之樂曲探討與演奏詮釋〉。國立臺北藝術大學音樂系音樂專業師資教育組碩士學位論文，2009。

饒瑞君。〈舒曼《幻想小品集》作品十二之研究〉。國立高雄師範大學音樂系碩士班演奏組詮釋報告，2008。

陳夙俐。〈舒曼《克萊斯勒魂》之樂曲分析與演奏詮釋〉。國立臺南藝術大學音樂系碩士班演奏組詮釋報告，2012。

廖珮君。〈秘密的傾聽者——舒曼的創作美學與《大衛同盟舞曲》研究〉。國立臺北藝術大學音樂學研究所碩士班音樂學組碩士論文，2007。

蔡佩珊。〈孟德爾頌的《無言歌》：風格特色與影響〉。國立臺北藝術大學音樂學研究所碩士班音樂學組碩士論文，2011。

Glusman, Elfriede. The Early Nineteenth-Century Lyric Piano Piece. Ph. D. diss. Columbia University, 1969.

Phillips, Nicholas Scott. Mendelssohn's Songs without words revisited: Culture, gender, literature, and the role of domestic piano music in Victorian England. DMA. Diss. University of Missouri, 2007.

Vezeau, Erica Ablene. Musical Messaging in the Early Piano Correspondence between Clara Wieck and Robert Schumann. MA. Diss. University of Ottawa, 2005.